Department of Experimental Psychology, University of Cambridge, Cambridge, UK.
Ear Hear. 2011 Sep-Oct;32(5):556-68. doi: 10.1097/AUD.0b013e31820b5f4c.
To determine preferred parameters of multichannel compression using individually fitted simulated hearing aids and a method of paired comparisons.
Fourteen participants with mild to moderate hearing loss listened via a simulated five-channel compression hearing aid fitted using the CAMEQ2-HF method to pairs of speech sounds (a male talker and a female talker) and musical sounds (a percussion instrument, orchestral classical music, and a jazz trio) presented sequentially and indicated which sound of the pair was preferred and by how much. The sounds in each pair were derived from the same token and differed along a single dimension in the type of processing applied. For the speech sounds, participants judged either pleasantness or clarity; in the latter case, the speech was presented in noise at a 2-dB signal-to-noise ratio. For musical sounds, they judged pleasantness. The parameters explored were time delay of the audio signal relative to the gain control signal (the alignment delay), compression speed (attack and release times), bandwidth (5, 7.5, or 10 kHz), and gain at high frequencies relative to that prescribed by CAMEQ2-HF.
Pleasantness increased with increasing alignment delay only for the percussive musical sound. Clarity was not affected by alignment delay. There was a trend for pleasantness to decrease slightly with increasing bandwidth, but this was significant only for female speech with fast compression. Judged clarity was significantly higher for the 7.5- and 10-kHz bandwidths than for the 5-kHz bandwidth for both slow and fast compression and for both talker genders. Compression speed had little effect on pleasantness for 50- or 65-dB SPL input levels, but slow compression was generally judged as slightly more pleasant than fast compression for an 80-dB SPL input level. Clarity was higher for slow than for fast compression for input levels of 80 and 65 dB SPL but not for a level of 50 dB SPL. Preferences for pleasantness were approximately equal with CAMEQ2-HF gains and with gains slightly reduced at high frequencies and were lower when gains were slightly increased at high frequencies. Speech clarity was not affected by changing the gain at high frequencies.
Effects of alignment delay were small except for the percussive sound. A wider bandwidth was slightly preferred for speech clarity. Speech clarity was slightly greater with slow compression, especially at high levels. Preferred high-frequency gains were close to or a little below those prescribed by CAMEQ2-HF.
使用个体适配的模拟助听器确定多通道压缩的优选参数和配对比较方法。
14 名轻度至中度听力损失的参与者通过模拟的五通道压缩助听器进行聆听,该助听器使用 CAMEQ2-HF 方法进行适配,配对呈现语音(男性说话者和女性说话者)和音乐声音(打击乐器、管弦乐古典音乐和爵士三重奏),并依次指示对哪一对声音的偏好以及偏好程度。每对声音均来自相同的样本,并且在应用的处理类型上仅沿一个维度存在差异。对于语音声音,参与者判断愉悦度或清晰度;在后一种情况下,语音在噪声中以 2 dB 的信噪比呈现。对于音乐声音,他们判断愉悦度。探索的参数是音频信号相对于增益控制信号的时间延迟(对准延迟)、压缩速度(攻击和释放时间)、带宽(5、7.5 或 10 kHz)以及高频增益相对于 CAMEQ2-HF 规定的增益。
只有对于打击乐器的音乐声音,愉悦度才随对准延迟的增加而增加。对准延迟对清晰度没有影响。对于带宽,愉悦度略有下降的趋势,但仅在快速压缩的女性语音中具有统计学意义。对于快速和慢速压缩以及两种性别说话者,7.5 和 10 kHz 带宽的清晰度均显著高于 5 kHz 带宽。对于 50 或 65 dB SPL 的输入水平,压缩速度对愉悦度的影响较小,但对于 80 dB SPL 的输入水平,慢速压缩通常被认为比快速压缩略为愉悦。对于 80 和 65 dB SPL 的输入水平,慢速压缩的清晰度高于快速压缩,但对于 50 dB SPL 的输入水平则不然。对于愉悦度,偏好与 CAMEQ2-HF 增益大致相等,当高频增益略微降低时偏好降低,当高频增益略微增加时偏好降低。改变高频增益不会影响语音清晰度。
除了打击乐器的声音外,对准延迟的影响很小。稍宽的带宽更有利于语音清晰度。在高电平下,慢速压缩的语音清晰度稍高。首选的高频增益接近或略低于 CAMEQ2-HF 规定的增益。